1. "To Live and Die In L.A." (1985) dir. William Friedkin
One of the better cop dramas I’ve seen, this nifty little thriller came out in a time when most people wanted to see Arnold Schwarzenegger kick the crap outta terrorists or monsters or whatever, and show off his biceps (although you can’t deny, they were impressive.) To Live and Die in L.A. was directed by William Friedkin, the genius behind The Exorcist from 1973, and he brings the same level of intense atmosphere to this tightly-wound thriller.
It tells of a brash Secret Service agent who is obsessively determined to bring down a dangerous counterfeiter, after losing his beloved partner to the criminal. Of course, the story is accompanied by a hip 80’s musical score (synths and drum machines aplenty), slick visuals, and tight bleached jeans. And you know what? It works. Friedkin has an excellent sense of pacing, and knows how to let the action and scenery write the story, as opposed to just dialogue. It reminded me a bit of Michael Mann’s superb Manhunter - which wouldn’t come out until the next year - as far as style and tone is concerned. But TlaDiLA seems to have the right balance between the full-blown action scenes and the slower, quieter moments, compared to Manhunter which seemed to be all gloom most of the time.
William Peterson plays the lead role, the intrepid, violent but capable federal agent with a vendetta. He could very easily have turned the character into a stereotypical cowboy cop, but manages to bring loads of depth to what threatens to be a 2D character, with the chipped-shoulder attitude giving way for some sensitive moments with his love interest. His determination to get his man also makes him incredibly appealing to the audience. Ironically, Peterson would go on to play the lead cop in Manhunter the following year, in what many consider his signature role before joining CSI as the lead. But here he had his first big break, and reminds us of how under-appreciated his talents are. The crafty counterfeiter he is chasing is played by Willem Dafoe (who else, right?) who, in an early role as well, solidifies his status as a go-to-guy for effective villains. He seems like a swell person in real life and has played nicer roles before, but here it seems as though the other characters have a hard time just staying in the same room with him. So creepy…
With a stellar soundtrack by Wang Chung and great supporting actors like Darlanne Fluegel, John Pankow and Dean Stockwell, To Live and Die in L.A. is a must-see not only if you like 80’s flicks, but smart thrillers in general. It doesn’t disappoint. 2. "The Elephant Man" (1980) dir. David Lynch
This stellar movie holds a rather distinct honor: it is the only movie I have ever cried at. EVER! To this day, if I watch it start-to-finish, there will be waterworks.
Anyway, besides that embarrassing anecdote, this movie really is a gem, on all levels: cinematography, script, casting…superb. Directed by the affably-weird David Lynch, it is based on the true-life story of Joseph Merrick, called John in the film, who was rather infamous in 19th century London due to the fact that he was severely (and noticeably) deformed. And so as not to give away the ultimate shock of his physical appearance, I won’t describe it for you, but to give you a hint, the film’s title comes from his stage name in the circus freak show. He was eventually picked up by Dr. Frederick Treves, who nurtured and sheltered him at London Hospital. Most of the film focuses on Merrick’s nature, his friendship with Treves and his eventual “celebrity” status in London Society.
John Hurt plays Merrick, and what a treat. Hurt is already considered one of the greatest actors of our time, and his talents are truly on full display here. As Merrick, he paints a detailed portrait of a complex man, who was awfully intelligent and caring despite his outwardly appearance, but still very childish in ways. Even under heavy layers of makeup, Hurt manages to bring forth the character’s vulnerability and kindness, and the results are both adorable and heartbreaking. The other bonus of the film is the Dr. Treves character, as played by the always spectacular Anthony Hopkins. Treves starts out as a caricature of the staunch, subdued English doctor who tolerates no nonsense or irrationality, but the inclusion of Merrick into his life really breaks down his emotional defenses. As in one of the more powerful scenes in the film, when Merrick is first revealed to him. He responds not with fear or disgust as we would expect, but is instantly overcome with sympathy and breaks into tears. The dynamic between the two colossal actors is worth the price of admission alone.
But luckily, the other elements of the film are terrific as well. Lynch directs with a patient eye for detail and a warm sympathy for the story, while still juxtaposing the events against the cold, derelict and unfeeling background of Victorian London. The choice to film in black-and-white also helps to the film’s advantage, adding to the bleakness. Also worth mentioning are the supporting roles played by John Gielgud, Anne Bancroft, and Freddie Jones, who plays Merrick’s cruel freak-show manager with equal parts flair and menace.
The Elephant Man is also one of the saddest films you’ll see, really wringing the emotions out of every moment to where sentiment is inescapable. So if you need a good cry and want to enjoy a fantastic movie as well, look no further.
3. "White Nights" (1985) dir. Taylor Hackford
One of my favorite films ever, White Nights is an amalgamation of several elements: dance movie, suspense thriller, war intrigue, love story...kinda sounds like Casablanca. Only with dancing. And Communists.
The story concerns Nikolai Rodchenko, a world-famous ballet star who had earlier defected from the Soviet Union to America. While on a dance tour through Europe, his plane is forced to make an emergency landing in Siberia, where the KGB recognize him, and he is trapped against his will in the place he had already escaped. While there he meets Raymond Greenwood, an American defector and talented tap-dancer, and his local wife Darya, who are brought in by the KGB to “baby-sit” Nikolai. They all eventually plan to escape to the US, while Russia lives under the total lightness of the midnight sun.
Nikolai is played by Mikhail Baryshnikov, already a famous dancer by his own right, and the role was practically made for him. He has a lot of charisma for a non-actor, showing a lot of sass and sarcasm while also having feelings of his own. Needless to say, the dance sequences are terrific as a result. Not only that, he is joined by the great Gregory Hines as Raymond. Their performances neatly complement each as partners in a dance, plus the image of bringing the traditional, “classic” form of dance together with the hip, more modern techniques. It provides a nice dichotomy for both the actors and their characters’ tensions.
Ironically, it is the supporting females who would go on to bigger fame in the movies later on. Darya is played by a very young Isabella Rossellini, who gives a very fragile, emotional performance here. And Nikolai’s former flame is played by none other than…Helen Mirren. That’s right. The Queen herself. Just imagine how she looks now, versus what she may have looked like back in 1985; it’s truly mind-blowing.
Director Taylor Hackford is a crisp man behind the camera: nothing fancy, he shows what you need to see and no more. But this doesn’t hurt the quality of the film. If he went for a more elegant approach it would give the impression that the film takes itself too seriously. The cinematography has a very gritty look to it when the action moves to Russia, and the backdrop of the white nights period creates a sense of unease that works nicely with the paranoia of the main characters, who are all prisoners of some kind.
The movie doesn’t have a lot of attention on its own, no more than a cult classic, and is more well-known for its impressive soundtrack, featuring kick-ass songs by Phil Collins, Lou Reed, Chaka Khan and other great artists. One of the songs featured in the film in “Say You, Say Me” by Lionel Ritchie, which won an Academy Award but ironically was not on the soundtrack.
Overall, White Nights is a fun, romantic and suspenseful ride through Cold War-syndrome and 80’s culture, but has a very timeless feeling as well.
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